What Satyajit Ray Left Us is an Inheritance of Endless Possibilities

• The first phase of his career coincided with the hope and idealism of anewly emergent nation, and saw him make what in effect were his finest films moviesthat truly reflects the spirit of the times.

• The grim portrayal of the 1943 Bengal famine in Ashani Sanket showed the politics of that time, while Ghare Baire was a very contemporary critique of a Hindu majoritarian nationalism.

• This, combined with differences in regional sensibilities, lack of suitable marketing and distribution, and of course the Bengali language, has continued to impede a more widespread engagement with Rays films within the country.

• Decades after they were made, viewers and filmmakers alike continue to be moved and influenced by the wonder of Apus first glimpse of a train, the romance of Apur Sansar, the lyricism of the swing scene in Charulata and the memory game in Aranyer Din Ratri.

• Recently, the Ray Society in Kolkata held a seminar on his cinema where successful contemporary directors like Dibakar Banerjee, Sujit Sarkar and Sujoy Ghosh dazzled us with their knowledge and admiration of Rays work.

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• This Script Will Settle the Storyline for Cultural Freedoms in India

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